Sound & Editing in "The Terminator" (1984)

The scene of the Police Station Shootout begins with The Terminator approaching the Police Station reception asking to see Sarah. After he’s told to wait, he states he’ll be right back and goes outside. Upon his departure the reception is all silent; the viewers can only listen to some non-diegetic sounds like the sound of drums as background music, and diegetic sounds like the reception employee’s hand writing. These initial shots serve as characterization of him as a man who’s so caught up in his routine (in this case, work) that he didn’t pay attention to The Terminator’s suspicious appearance and intimidating voice tone. 

Another moment where sound works together with editing in order to add suspense—and an overall atmosphere of tension within the scene—is the intermixed shots of Sarah Connor and those of The Terminator searching for her. These shots play with the viewers’ expectation as well, specifically when Sarah hides under a desk fearing she’s going to get shot. The viewers’ expectation is that Terminator is going to find her: The shooting feels getting nearer every time and it seems like he’s getting closer to where she’s hiding. The coming and going of the shots framing Sarah and then framing The Terminator shooting around and inspecting all the offices is what shapes that expectation. This intensifies with the presence of diegetic and non-diegetic sounds: The music (non-diegetic sound) is fast-paced just like her heart beats (fast, of course, because of the fear of being found and killed); and the diegetic sounds, the locked doorknob being shaken and the breaking of the door glass (to open from inside, to enter). That expectation falls apart when the door opens and it’s actually Kyle who has found her first, and they escape.